The graphic series “Poor Folk” by contemporary Kazakhstani artist Teoman Khos and its interpretation by poet Andrey Sen-Senkov are examined in terms of intermedial interaction. The artist drew on literary experience, which offers various cultural semiotizations of a daily little thing – matches – while the poet translates the pictorial image back into literary language. However, traditionally understood ekphrasis is replaced in Sen-Senkov’s text by a set of highly subjective associations that complement the semiotic meaning of the artist’s images. While Khos’s works emphasize the theme of death, Sen-Senkov depicts the time of burning, that is, life. One can speak of a creative dialogue, a mutually complementary process between visual and verbal texts. The selected material is also interesting as a vivid manifestation of the total aestheticization of the everyday, imbuing an ordinary, “small” object with subjectivity. The laconicism of Khos’s works, like Sen-Senkov’s lyrical miniature form, is no accident: while referentially sparse, the image possesses a heightened semantic richness, mimesis becoming semiosis. Some aspects of both authors’ poetics resonate with the practices of conceptualists and the “trans-avantgarde.” Furthermore, in both Khos’s work and Sen-Senkov’s text, the emphasis is not on the cult of absolute novelty, but on the incorporation of cultural tradition. This, firstly, activates the co-creation of the recipient, who “recognizes” cultural signs in a broad sociocultural context, and secondly, shapes the concept of artistic memory and its unified continuum.